Attila Issue 9 1971
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Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies. -
King Mob Echo: from Gordon Riots to Situationists & Sex Pistols
KING MOB ECHO FROM 1780 GORDON RIOTS TO SITUATIONISTS SEX PISTOLS AND BEYOND BY TOM VAGUE INCOMPLETE WORKS OF KING MOB WITH ILLUSTRATIONS IN TWO VOLUMES DARK STAR LONDON ·- - � --- Printed by Polestar AUP Aberdeen Limited, Rareness Rd., Altens Industrial Estate, Aberdeen AB12 3LE § 11JJJDJJDILIEJMIIENf1r 1f(Q) KIINCGr JMI(Q)IB3 JECCIHI(Q) ENGLISH SECTION OF THE SITUATIONIST INTERNATIONAL IF([J)IF ffiIE V ([J) IL lUilII ([J) W §IFIEIEIIJ) IHIII§il([J) ffiY ADDITIONAL RESEARCH BY DEREK HARRIS AND MALCOLM HOPKINS Illustrations: 'The Riots in Moorfields' (cover), 'The London Riots', 'at Langdale's' by 'Phiz' Hablot K. Browne, Horwood's 1792-9 'Plan of London', 'The Great Rock'n'Roll Swindle', 'Oliver Twist Manifesto' by Malcolm McLaren. Vagrants and historical shout outs: Sandra Belgrave, Stewart Home, Mark Jackson, Mark Saunders, Joe D. Stevens at NDTC, Boz & Phiz, J. Paul de Castro, Blue Bredren, Cockney Visionaries, Dempsey, Boss Goodman, Lord George Gordon, Chris Gray, Jonathon Green, Jefferson Hack, Christopher Hibbert, Hoppy, Ian Gilmour, Ish, Dzifa & Simone at The Grape, Barry Jennings, Joe Jones, Shaun Kerr, Layla, Lucas, Malcolm McLaren, John Mead, Simon Morrissey, Don Nicholson-Smith, Michel Prigent (pre-publicity), Charlie Radcliffe, Jamie Reid, George Robertson & Melinda Mash, Dragan Rad, George Rude, Naveen Saleh, Jon Savage, Valerie Solanas, Carolyn Starren & co at Kensington Library, Mark Stewart, Toko, Alex Trocchi, Fred & Judy Vermorel, Warren, Dr. Watson, Viv Westwood, Jack Wilkes, Dave & Stuart Wise Soundtrack: 'It's a London Thing' Scott Garcia, 'Going Mobile' The Who, 'Living for the City' Stevie Wonder, 'Boston Tea Party' Alex Harvey, 'Catholic Day' Adam and the Ants, 'Do the Strand' Roxy Music', 'Rev. -
Book Proposal 3
Rock and Roll has Tender Moments too... ! Photographs by Chalkie Davies 1973-1988 ! For as long as I can remember people have suggested that I write a book, citing both my exploits in Rock and Roll from 1973-1988 and my story telling abilities. After all, with my position as staff photographer on the NME and later The Face and Arena, I collected pop stars like others collected stamps, I was not happy until I had photographed everyone who interested me. However, given that the access I had to my friends and clients was often unlimited and 24/7 I did not feel it was fair to them that I should write it all down. I refused all offers. Then in 2010 I was approached by the National Museum of Wales, they wanted to put on a retrospective of my work, this gave me a special opportunity. In 1988 I gave up Rock and Roll, I no longer enjoyed the music and, quite simply, too many of my friends had died, I feared I might be next. So I put all of my negatives into storage at a friends Studio and decided that maybe 25 years later the images you see here might be of some cultural significance, that they might be seen as more than just pictures of Rock Stars, Pop Bands and Punks. That they even might be worthy of a Museum. So when the Museum approached me three years ago with the idea of a large six month Retrospective in 2015 I agreed, and thought of doing the usual thing and making a Catalogue. -
SLAP Supporting Local Arts & Performers
Issue 41 SLAP Supporting Local Arts & Performers Fuel presents Fiction Conceived by David Rosenberg and Glen Neath Written by Glen Neath Directed by David Rosenberg Music & Sound by Ben & Max Ringham 14 October, 7 & 9pm Fuel Ticket Offers Buy one ticket to a Fuel show Malvern Theatres & get the second half price! Quote the code FUELHALF. Grange Road, Malvern WR14 3HB Come to all three shows & get one Tickets: £16/14/£8 show free. Quote the code FUELFREE. 01684 892277 Offers can only be used when booking by telephone or in person, malvern-theatres.co.uk subject to availability. fueltheatre.com Fiction, commissioned by the Cambridge Festival of Ideas, Cambridge Junction and Bournemouth Arts by the Sea Festival. Funded by Arts Council England and a Wellcome Trust Arts Award. New Theatre In Your Neighbourhood is funded by Arts Council England and the Esmée Fairbairn Foundation. Welcome to the October issue of SLAP Magazine which marks the end of a glorious summer of festivals for us. In fact I write my editorial from the Forest of Dean, home to the wonderful Something else in the Dean festival - sadly the last of the season. We take a snapshot view of this years hugely successful Worcester Music Festival with Andy O’Hare, surely the busiest man of the whole weekend. Talking of snapshots, we bring you the judges top three from the WMF photo Oct 2014 competition. If you’re quick you can see all 25 finalists on display at the Arts Workshop until Saturday 5th October following the presentation which took place as we went to press. -
The British Underground Press, 1965-1974: the London Provincial Relationship, and Representations of the Urban and the Rural
THE BRITISH UNDERGROUND PRESS, 1965-1974: THE LONDON PROVINCIAL RELATIONSHIP, AND REPRESENTATIONS OF THE URBAN AND THE RURAL. Rich�d Deakin r Presented as part of the requirement forthe award of the MA Degree in Cultural, Literary, andHistorical Studies within the Postgraduate Modular Scheme at Cheltenham and Gloucester College of Higher Education June 1999 11 DECLARATIONS This.Dissertation is the product of my own work and is. not the result of anything done in collaboration. I agreethat this. Dissertationmay be available forreference and photocopying,. at the discretion of the College. Richard Deakin 111 ABSTRACT Whateverperspective one takes, contradictions in the relationship between the capital and the provinces have always been evident to some extent, and the British undergroundpress of the late 1960s and early 1970s is no exception. The introductoryfirst chapter will definethe meaning of the term 'underground' in this context, and outline some of thesources used and the methodologies employed. Chapter Two will show how the British underground press developed froman alternative coterie of writers, poets, and artists - often sympathisers of the Campaign forNuclear Disarmament movement. It will also show how having developed from roots that were arguably provincial the undergroundadopted London as its base. The third chapter will take a more detailed look at the background of some London and provincial underground publications andwill attempt to see what extent the London undergroundpress portrayed the provinces, and vice-versa. In Chapter Four actual aspects of lifein urbanand rural settings, such as communes, squats, and pop festivals,will be examined in relation to the adoption of these lifestylesby the wider counterculture and how they were adapted to particular environments as part of an envisioned alternativesociety. -
Rock and Roll Music
Rock & Roll Michael Hardaker, HRDMIC006 A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Arts specialising in Creative Writing Faculty of the Humanities University of Cape Town 2017 This work has not been previously submitted in whole, or in part, for the award of Universityany degree. It is my ownof work.CapeEach significant Town contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: 2017-08-21 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT Through unfolding, fragmentary memoirs, the disconnected odyssey of Nick Numbers, a rock music critic working in London and LA through the 1970s into the early 1980s, Rock & Roll explores the multiple realities that exist between documentary, documentable fact and supposedly pure fiction. Real people and verifiable occurrences are interwoven with invented characters and situations in a way that blurs any clear distinction between the two. The book also sees how the power of additions such as images and footnotes can add, or perhaps undermine, authority and credibility to a story. Meanwhile, stories connect the twin musical and lyrical strands, black rhythm and blues and the writings of the Beat generation, that somehow merged in the mid-1960s to produce rock music. -
I Helped Carry William Burroughs to the Medical Tent Further Thoughts on the ‘Pirate’ Radio Stations of the 1960S
Lobster 59 I helped carry William Burroughs to the medical tent Further thoughts on the ‘pirate’ radio stations of the 1960s Simon Matthews Lobster 58 published a piece that I had written about the odd career of Simon Dee. Inevitably there were many subsidiary areas of research, interesting facts and late arriving information that could not easily be included in it. These have now been assembled and are presented here. Broadly they cover three further areas of enquiry: To what extent were those in the UK who supported commercial radio in the 1950s and ‘60s actively seeking to change the economic and political environment in Britain? Did they oppose the post-1945 consensus around the welfare state and central government planning, and if they did by whom were they influenced? Was there an explicitly political agenda behind the various US-style offshore commercial radio stations that appeared in Europe from 1961 onwards; and, if so, was this in any way promoted by the US government? Did the various ‘counter culture’ activities of Ronan O’Rahilly in the 1960s and ‘70s have a deliberate political purpose? Beginnings A discussion of the origins and role of Radio Luxembourg – in its heyday the epitome of slick broadcasting – was omitted 34 Summer 2010 from the article in Lobster 58 but is worth setting out now in some detail as an example of the earliest exposure of the UK to commercial radio and an indication of how far back an interest in this subject can be traced amongst selected figures in the British establishment. The station came into being as a result of the enthusiasm of Leonard Plugge. -
OZ 24 Richard Neville Editor
University of Wollongong Research Online OZ magazine, London Historical & Cultural Collections 11-1969 OZ 24 Richard Neville Editor Follow this and additional works at: http://ro.uow.edu.au/ozlondon Recommended Citation Neville, Richard, (1969), OZ 24, OZ Publications Ink Limited, London,36p. http://ro.uow.edu.au/ozlondon/24 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] OZ 24 Description Contents: The Beautiful Freaks issue. Lee Heater cover (insert: Honeybunch Kaminski poster with anti-Oz articles from the People [7/9/69] and a rebuttal from the Guardian [10/9/69] on the reverse). ‘Welcome to the OZ Freak Show’ by Ian Channell. Danae on Rufus Collins & the Living Theatre. Marcia Herscovitz interviews herself. ‘Urological Nurturement’ by John Ivor Golding. Gilbert Shelton ‘Freak Brothers’ strip. Lee Heater. Anthony Haden-Guest on ‘Bruce’, a freak. ‘I Agree with your Tactics But I Don’t Know about Your Goals’ - extracts from Jerry Rubin’s Do It! 1p+ John & Yoko photomontage. Dr Hip Ocrates. ‘Mr Orgone’ - Interview with Ilse Reich about Wilhelm. Rolling Stones Through the Past, Darkly ad. ‘The aN vy Lark’. ‘Mozic and the Revolution’ by Germaine Greer. Harvest records ad. LP reviews: The Kinks, John Mayall and Steve Miller. ‘The Beatles Come Together’ - Abbey Road/John Lennon interview by Miles. Back cover ad (girl dancing in IOW festival crowd) for LP by Free. Publisher OZ Publications Ink Limited, London,36p Comments Please be advised: This collection has been made available due to its historical and research importance. -
Tapemaster Main Copy for Linking
Jeff Schechtman Interviews December 1995 to April 2020 2020 Kristin Hoganson The Heartland: An American History 4/30/20 Richard Rushfield The Ankler 4/29/20 Joel Simon Exec. Director: The Committee to Protect Journalists: Press Freedom and Covid-19 21 9/20 Deborah Wiles Kent State 4/28/20 Chad Seales Bono 4/27/20 Alex Gilbert Oil Markets 4/22/20 Betsy Leondar-Wright Staffing the Mission 4/21/20 Jesse Arrequin Mayor of Berkeley 4/16/20 Carl Nolte San Francisco Chronicle columnist 4/10/20 Chuck Collins COVID-19 and Billionaires 4/9/20 Kelsey Freeman No Option But North: The Migrant World and the Perilous Path Across the Border 4/8/20 Augustine Sedgewick Coffeeland: One Man’s Dark Empire and the Making of Our Favorite Drug 4/8/20 Charlotte Dennent The Crash of Flight 3804: A Lost Spy, A Daughter’s Quest and the Deadly Politics of the Game of Oil 4/3/20 Eric Eyre Death in Mud Lick: A coal Country Fight Against the Drug Companies 4/2/20 Randy Shaw Housing in San Francisco 4/2/20 Dr. Jessica Mega Verily / Google re Coronavirus testing 4/1/20 Jim McKelevy The Innovation Stack: Building an Unbeatable Business One Crazy Idea at a Time 3/26/20 Thomas Kostigen Hacking Planet Earth: How Geoengineering Can Help Us reimagine the Future 3/26/20 Cara Brook Miller Postdoctoral Fellow, UC Berkeley 3/25/20 Katherine Stewart The Power Worshippers: Inside the Dangerous Rise of Religious Nationalism 3/25/20 Dan Walters Cal Matters Columnist 3/24/20 Tim Bakken The Cost of Loyalty: Dishonesty, Hubris and Failure in the US Military 3/18/20 Andrea Bernstein American -
Melody-Maker-1969-06
Blind Faith at Hyde Park CENTRE PAGES ALSO IN THIS WEEK'S MM ... -~~ WHAT -~ KENNY . :TL;:: ,ii, ~~: ,~_. WHEELER f;, BEATLES' ';fl✓ MANFRED ? ~ IN .,.. BALLAD PAGE 9 ~1,;\. :~E S~ENE PAGE 7 THE first public appearance of the "new" Rolling Stones Mick Taylor replaces -with former John Mayall guitarist Mick Brian Jones after split T a y I o r replacing SURMAN Brian Jones-is plan Brian Jones was re Jan Poll wlnMr ned to take place at placed with Mick Tay the famous Rome lor at the weekend. The Colosseum on June 25 split was reported to and 26. be " amicable " and due Surman to difference of opinion o v e r musical policy. FILM Jones said: " The music plans Mick Jagger and Keith Mick Jagger told MM Richard h a v e been at presstime: " I have writing has progressed just made arrangements at a tangent as far as to quit for the new Stones to my own taste is con appear at the Colos· cerned." seum in Rome." He said he " doubted " if there Britain would be any charge to FROST SHDClt__ .,.......,- ., 111o __ - see the group in action ..... ,. and the concerts would ,_....,._- Jones was a founder ..... be filmed for world member of the aroup. plautoqul&_Sara...,., __... wide distribution. He is negO'tiatlng w i th an The Stone• pr-. NIIIJ-"•--~ officer Leslie Perrin told a-. ............. -. Italian film man to at .. •111---.• direct the film. MM at preatlme that .._,.,Jell......... __•'a __ _ on Monday (18) the _.,. ,.,._ new S11ones would tape .. -
Heavy Metal the Music and Its Culture, Revised Edition
Deena Weinstein Contents I I I Appreciation Acknowledgments 1 Studying Metal: The Bricolage of Culture 1 2 Heavy Metal: The Beast that Refuses to Die 1 3 Making the Music: Metal Gods 4 Digging the Music: Proud Pariahs 5 Transmitting the Music: Metal Media ( 6 The Concert: Metal Epiphany 7 Maligning the Music: Metal Detractors 8 Metal in the '90s I Appendix A: Suggested Hearings: 100 Definitive Metal Albums 295 Appendix 3: Gender Preferences for Metal Subgenres 299 Appendix C: Proportion of Heavy Metal Albums in Billboard's Top 100 301 About the Author 353 Appreciation Iam greatly indebted to a multitude of generous people who helped to make this book possible in both its original version and in this new revised edition. They have come from all corners of the metal and academic worlds-musicians, fans, and mediators. Much gratitude goes to the legions of metalheads of all ages, genders, and races, from a variety of educational and religious backgrounds, who have shared their insight and pleasure with me. A shout out to those who have gone beyond the call of duty: Denis Chayakovsky, Jim DeRogatis, Joey DiMaio, Natalie DiPietro, Bill Eikost, Paula Hogan, Randy Kertz, Michael Mazur, Paul Natkin, Patrik Nicolic, Rodney Pawlak, Jeff 1 Piek, Kira Schlecter, and Tony7Tavano, E i E 1 Acknowledgments Grateful acknowledgment is made to the following publishers for permission to quote from their work: Straight Arrow Publishers, Inc.: Excerpts from "Money for Nothing and the Chicks for Free," by David Handelman, Rolling Stone, August 13, 1989. By Straight Arrow Publishers, Inc. Copyright 1989.